2 10 290 https://artgalleries.milne-library.org/files/original/29346cb8d7f64a91d9dd8d70e6966d83.jpg 6db2ede8eaa667d2719447dae149edba Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Raccolta di Monumenti Sacri e Sepolcrali Volume 3 Subject The topic of the resource Roman Sculpture from the 15th and 16th Century Description An account of the resource Volume 3 of 5 Creator An entity primarily responsible for making the resource Drawn by Francesco M. Tosi Publisher An entity responsible for making the resource available Presso l'Editore Proprietario Date A point or period of time associated with an event in the lifecycle of the resource 15th and 16th Century Sculpture Contributor An entity responsible for making contributions to the resource Unknown Donor Rights Information about rights held in and over the resource Geneseo Foundation Relation A related resource Volumes 1, 2, 4, and 5 Format The file format, physical medium, or dimensions of the resource 20 x 16 Language A language of the resource Italian translated by Bianca Pedulla Type The nature or genre of the resource Prints Identifier An unambiguous reference to the resource within a given context Italian Monuments in Rome created during the 15th and 16th Century Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant Prints were made circa 1835 to 1860 Still Image A static visual representation. Examples of still images are: paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type "text" to images of textual materials. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Altare nella Chiesa di S. Maria della Pave Subject The topic of the resource Altar in the church of Santa Maria della Pace Description An account of the resource This magnificent altar was made to raise by Innocent VIII in the church of S. Our Lady of Peace in honor of the Virgin Mary for having overcome a painful disease. It took some time for the place of the 'Altar and afterwards was transported to where it now is seen. Everything we have from Pennotti is from his histor. Canon. The Reg. 3. c. 33, who writes: (LATIN). Today the main altar in (LATIN) reads the following inscription: Innocent VIII had to love the Church of Peace also for his genius peaceful, so was able to make peace between the Christian princes, and so Vital Wheat sang her credit for this side: The altar in the said conveyance to the side of the Gospel, and the use of altar of the Crucifix underwent some modifications, which art cannot certainly approve. The niche of Our Lady was not enough (pel) crucifix, and so it was enlarged almost two branches, that spoil the pristine beauty of the lines, and what is more they break the beautiful design of 'pillars carved with ornate, that arise at his side. It incarcerated in a space too small, and not field or background that we mean, who does not show for a tenth of the beauty of art resurgent, and that set that has picture in the paper. About the saints that fill the niches, here is what we could (conghietturare). The first two on the right and left of the upper part are the two John in 'their sides, one and abbot, and it seems that we should thus characterize the pastoral flower that looks inward, unlike the pastoral bishop who turns out: the other seems to S. Anthony abbot and youthful face is the fire that alludes to a famous miracle in order to split the elements that made up a brick. The two circular figures contain some means of two angels, and maybe two evangelists, as does the suspect parchment. Finally at the bottom we have some the only two apostles St. Peter and S. Paul Delk bishop you cannot say anything, and the other with high cross, watching the sky and in a suit venerable and apostolic would seem the apostle St. Philip, or S. Compano apostolic Barnabas S. Paul. As to the reasons for these saints: two apostles, Peter and Paul as protectors of Rome, the two John allude, one in the name of the Pope who order the altar, which was called (LATIN) John, the other being the beloved disciple left his son to Mary, the two must be mitred saints who have written especially the SS. Virgin and so the Evangelists: St. Presumably Anthony was the patron saint of the Pope, as he had studied in Padua. The Crucifix carved in wood, which is in the midst of great niche is working fine, but falsely attributed to Michelangelo. Creator An entity primarily responsible for making the resource Drawn by Francesco M. Tosi Publisher An entity responsible for making the resource available Presso l'Editore Proprietario Date A point or period of time associated with an event in the lifecycle of the resource 15th and 16th Century Sculpture Contributor An entity responsible for making contributions to the resource Unknown Donor Rights Information about rights held in and over the resource Geneseo Foundation Relation A related resource Volumes 1, 2, 4, and 5 Format The file format, physical medium, or dimensions of the resource 20 x 16 Language A language of the resource Italian Type The nature or genre of the resource Print Identifier An unambiguous reference to the resource within a given context Italian Monuments in Rome created during the 15th and 16th Century Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant Prints were made circa 1835 to 1860 https://artgalleries.milne-library.org/files/original/393fc1a437773fd9563ce538c50ae482.JPG 7b904d3066b934ef5f9d25d6a016887d Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Raccolta di Monumenti Sacri e Sepolcrali Subject The topic of the resource Roman Sculpture from the 15th and 16th Century Description An account of the resource Volume 1 Creator An entity primarily responsible for making the resource Drawn by Francesco M. Tosi Publisher An entity responsible for making the resource available Presso l'Editore Proprietario Date A point or period of time associated with an event in the lifecycle of the resource 15th and 16th Sculpture Contributor An entity responsible for making contributions to the resource Unknown Donor Rights Information about rights held in and over the resource Geneseo Foundation Relation A related resource Volumes 2, 3, 4, and 5 Format The file format, physical medium, or dimensions of the resource Etchings Language A language of the resource Italian translated by Arianna Buttarazzi Type The nature or genre of the resource Prints Identifier An unambiguous reference to the resource within a given context Italian Monuments in Rome created during the 15th and 16th Century Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant Prints were made circa 1835 to 1860 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Altare nella Chiesa di S. Maria sopra Minerva Subject The topic of the resource Altar in the church of St. Mary above Minerva Description An account of the resource Table XIX It would be enough that the altar is presented in this table to have made a wise degree of perfection in which they were the sister arts in the fifteenth and sixteenth century. In fact, the architectural proportions or want to, or do you want for the finiteness of the sculptures of ornaments or do you want in order for the beautiful fresco painting depicting the Annunciation of the Virgin Mary that he and the altar of a work of art worthy of economic. It is in the chapel of Cardinal Caraffa of Oliviero founded by his family in the strait of the crown in the church of St. Mary above Minerva, dedicating it to St. Thomas Aquinas. If you're looking scruffy draw because any stand that forms the canteen, what comes for this reason that is no longer the old: and enclosed between two pedestals where the weapon of the house and carved jug Steelyard. At this overlooks a small base which in the extreme sides of the coat of arms of Cardinal Founder and most within two angels kneeling. Precisely those arms are raised above the two pillars of the Corinthian order of exquisite work when the ignition locking between two scenes of the Annunciation party. See it from one side of the archangel Gabriele ATO to utter the sublime words to Mary, and that in the middle while the other St. Thomas Aquinas presents to her the Cardinal Olivier devotee who commissioned the work, and founder of the chapel. Attic that overpowers the frame of the entablature to four previously fixed to the heads of satyrs with swirls and festoons of flowers and fruit. The value that each can see in this work of art it heartened the desire to know what it cleft the architect, who would lead with such grace carvings and who finally was painting the fresco. But if this desire is disappointed by history and tradition as the architect and sculptor whose founder, Cardinal at work, well it compensates for learning the name of the author of the painting. This which is attributed by some people to B. Angelico da Fiesole, there can be no doubt, moreover, is the work of Filippino Lippi. Of that same Filipino in the upper part of the same chapel he painted the Assumption and the lower the Apostles did not dispute that St. Thomas Aquinas which occupies the entire wall straight: that dispute was judged since its contemporary excellent painting, and held in the same esteem by posterity. Creator An entity primarily responsible for making the resource Drawn by Francesco M. Tosi Publisher An entity responsible for making the resource available Presso l'Editore Proprietario Date A point or period of time associated with an event in the lifecycle of the resource 15th and 16th Sculpture Contributor An entity responsible for making contributions to the resource Unknown Donor Rights Information about rights held in and over the resource Geneseo Foundation Relation A related resource Volumes 2, 3, 4, and 5 Format The file format, physical medium, or dimensions of the resource 20 x 16 Language A language of the resource Italian Type The nature or genre of the resource Print Identifier An unambiguous reference to the resource within a given context Italian Monuments in Rome created during the 15th and 16th Century Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant Prints were made circa 1835 to 1860 https://artgalleries.milne-library.org/files/original/23ab99f29dc0c2a71ab0f8d74cf1de06.jpg 957cca63e42b8337ec490bd028d08b20 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Raccolta di Monumenti Sacri e Sepolcrali Volume 3 Subject The topic of the resource Roman Sculpture from the 15th and 16th Century Description An account of the resource Volume 3 of 5 Creator An entity primarily responsible for making the resource Drawn by Francesco M. Tosi Publisher An entity responsible for making the resource available Presso l'Editore Proprietario Date A point or period of time associated with an event in the lifecycle of the resource 15th and 16th Century Sculpture Contributor An entity responsible for making contributions to the resource Unknown Donor Rights Information about rights held in and over the resource Geneseo Foundation Relation A related resource Volumes 1, 2, 4, and 5 Format The file format, physical medium, or dimensions of the resource 20 x 16 Language A language of the resource Italian translated by Bianca Pedulla Type The nature or genre of the resource Prints Identifier An unambiguous reference to the resource within a given context Italian Monuments in Rome created during the 15th and 16th Century Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant Prints were made circa 1835 to 1860 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Altare nella Sagrestia di S. Maria del Popolo Subject The topic of the resource Altar in the sacristy of Santa Maria del Popolo Description An account of the resource The interior of the church of Santa Maria del Popolo changed shape at the time of Bernini, who was an architect invited to direct its work. He among many beautiful things that (vi operò) knew not to deserve universal approval in substituting another work, conducted over his drawings, one that we imprinted in this table, or that for many years was a noble ornament of the high altar. The altar drawn by Bernini. One is a work worthy of being remembered amongst the wonders of the most luminous centuries of Italian art, the other suffers much from the principle of baroque that already began and hinting at wanting to occupy much of the field in the artistic realm. Certainly the author of this stupendous work was Andrea Bernini, of which we will speak of in Table 74 (LXXIV), speaking of the monument that he raised in the church of Santa Maria sopra Minerva, and who knows how many other exquisite works he was he author among the many artistic treasures left to us by our glorious fathers. The Saints Peter, Paul, Augustine, and Jerome occupy the four niches of the pillars. In the middle is a large niche of a fresco painting depicting the Madonna with the Child in her arms. This painting was found in recent excavations on Mount Pincio in the year 1810 and is said to be the work of Giotto, but his voice was belied by analyses by intellectuals who believed that it was created by a hand entirely different from that of the famous Florentine. Creator An entity primarily responsible for making the resource Drawn by Francesco M. Tosi Publisher An entity responsible for making the resource available Presso l'Editore Proprietario Date A point or period of time associated with an event in the lifecycle of the resource 15th and 16th Century Sculpture Contributor An entity responsible for making contributions to the resource Unknown Donor Rights Information about rights held in and over the resource Geneseo Foundation Relation A related resource Volumes 1, 2, 4, and 5 Format The file format, physical medium, or dimensions of the resource 20 x 16 Language A language of the resource Italian Type The nature or genre of the resource Print Identifier An unambiguous reference to the resource within a given context Italian Monuments in Rome created during the 15th and 16th Century Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant Prints were made circa 1835 to 1860 https://artgalleries.milne-library.org/files/original/b1a1c8c7fe1e07665d026fdc56896b3a.JPG 62130e860e85c9391afa366641b49678 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Raccolta di Monumenti Sacri e Sepolcrali Subject The topic of the resource Roman Sculpture from the 15th and 16th Century Description An account of the resource Volume 1 Creator An entity primarily responsible for making the resource Drawn by Francesco M. Tosi Publisher An entity responsible for making the resource available Presso l'Editore Proprietario Date A point or period of time associated with an event in the lifecycle of the resource 15th and 16th Sculpture Contributor An entity responsible for making contributions to the resource Unknown Donor Rights Information about rights held in and over the resource Geneseo Foundation Relation A related resource Volumes 2, 3, 4, and 5 Format The file format, physical medium, or dimensions of the resource Etchings Language A language of the resource Italian translated by Arianna Buttarazzi Type The nature or genre of the resource Prints Identifier An unambiguous reference to the resource within a given context Italian Monuments in Rome created during the 15th and 16th Century Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant Prints were made circa 1835 to 1860 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Altare nella Sagrestia di S. Maria della Consolanione Subject The topic of the resource Altar of the Sacristy of St. Mary of Consolation Description An account of the resource Table XII The altar that knight Tosi wants to introduce in this table is located in the sacristy of the church of St. Mary of Consolation. Simplistic and the base gently adorned with festoons and two -arms that is encased of Cibo. In the middle there was a table in this verse of the Psalmist - worship Deum in Sanctis ejus. - Two nimble pillars adorned with elegant chandeliers from the work and which skirted the quadrilateral intended to contain a painting , there are two nuts on the ends being in the basement , and stand up holding up the entablature with their capitals to put the whole ovules stars and light garlands of flowers. An entablature ending in volutes, with antefixes in the sides and in the middle of a seraph end of the altar: one in the middle above the main entablature of Innocent VIII noble weapon of the powerful Cibo family. It will be enough to make after work but have noticed that the band of the quadrilateral said above, and all full of golden ornaments, and that taste good proportions, the elegance of the ensemble and the delicacy of the carvings make this a most valuable monument altar art of the fifteenth century. Creator An entity primarily responsible for making the resource Drawn by Francesco M. Tosi Publisher An entity responsible for making the resource available Presso l'Editore Proprietario Date A point or period of time associated with an event in the lifecycle of the resource 15th and 16th Sculpture Contributor An entity responsible for making contributions to the resource Unknown Donor Rights Information about rights held in and over the resource Geneseo Foundation Relation A related resource Volumes 2, 3, 4, and 5 Format The file format, physical medium, or dimensions of the resource 20 x 16 Language A language of the resource Italian Type The nature or genre of the resource Print Identifier An unambiguous reference to the resource within a given context Italian Monuments in Rome created during the 15th and 16th Century Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant Prints were made circa 1835 to 1860 https://artgalleries.milne-library.org/files/original/8f2a8358a9de1d63990e80183e706753.JPG cd165db3a0cb68c8503f4484e5eeb21f Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Altare: Nella Basilica di S. Paolo sulla Via Ostiense Subject The topic of the resource Alter with three figures, center figure has lost his head Description An account of the resource TAV. CXVI Soon to be translated. IMG 5348 Creator An entity primarily responsible for making the resource Drawn by Francesco M. Tosi Publisher An entity responsible for making the resource available Presso l'Editore Proprietario Date A point or period of time associated with an event in the lifecycle of the resource 15th and 16th Century Sculpture Contributor An entity responsible for making contributions to the resource Unknown Donor Rights Information about rights held in and over the resource Geneseo Foundation Relation A related resource Volumes 1, 2, 3, and 4 Format The file format, physical medium, or dimensions of the resource Etching Language A language of the resource Italian Type The nature or genre of the resource Print Identifier An unambiguous reference to the resource within a given context Italian Monuments in Rome created during the 15th and 16th Century Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant Prints were made circa 1835 to 1860 https://artgalleries.milne-library.org/files/original/4b3808a647093abba184ec350c3f72ea.jpg 1289f7b47b5a40aeb2b035ebec4b8729 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Raccolta di Monumenti Sacri e Sepolcrali Volume 4 Subject The topic of the resource Roman Sculpture from the 15th and 16th Century Description An account of the resource Volume 4 of 5 Creator An entity primarily responsible for making the resource Drawn by Francesco M. Tosi Publisher An entity responsible for making the resource available Presso l'Editore Proprietario Date A point or period of time associated with an event in the lifecycle of the resource 15th and 16th Century Sculpture Contributor An entity responsible for making contributions to the resource Unknown Donor Rights Information about rights held in and over the resource Geneseo Foundation Relation A related resource Volumes 1, 2, 3, and 5 Format The file format, physical medium, or dimensions of the resource 20 x 16 Language A language of the resource Italian translated by Marisa Powell Type The nature or genre of the resource Prints Identifier An unambiguous reference to the resource within a given context Italian Monuments in Rome created during the 15th and 16th Century Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant Prints were made circa 1835 to 1860 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Basamenti ed Urne Sepolcrali di Ottaviano Fornari e del Car. Giov. Giacomo Schiaffenati nel Chiostro di S. Agostino Subject The topic of the resource TABLE XCVI SEPULCHRAL URNS AND STANDS OF OTTAVIANO FORNARI AND CARDINAL GIOVANNI GIACOMO SCHIAFFENATI In the Cloister of Saint Agostino Description An account of the resource TABLE XCVI These two existing monuments are in the cloister of the church of St. Augustine, and were made to honor the piety of loving brothers laid to rest next to each other, one to the memory of modesty and integrity of the scholarly and zealous Cardinal Giacomo Sciaffenati, the other to remember the virtues of the industrious Bishop Octavian Fornari. Each monument consists of a base, flanked by the arms of the deceased with an epigraph that recalls their main important merits. Next to it is a beautifully carved urn that contains the ashes of the illustrious departed, whose body is carved into the bass-relief and is shown lying on the cover, with his head resting on his hands, and he seems to be as gentle and quiet as one sleeping. The death of the righteous is a sweet sleep, among the continuing struggles of the underworld, and Francati flying to recommend the eternal reward of virtue in the smile of the angels. As for me, given all the times I have paused in front of these Christian monuments, I can only highly regret the strange customs some took in creating the graces with more than moral or religious instruction. But granted that this bad technique does not invade the mind of most artists, we can say this was just a brief and illustrious fad; it is the most inferior of the monuments are here. It was made for Father Milano, who had gone to Rome, when Sixtus IV appointed him to be an attendant, and he was elected the Bishop of Parma in 1482, and the following year he was awarded the “sacred purple” with the title first of St. Cecilia and later St. Stefano of Monticello. There was a Roman Curia, who often worked with him in business activities, though few could match the affability and kindness of his ways. The aspects of his life that earned him the affection and esteem from everybody earned him no less than to perpetuate his desire that after death in 1497 he would receive Christian resignation. Creator An entity primarily responsible for making the resource Drawn by Francesco M. Tosi Publisher An entity responsible for making the resource available Presso l'Editore Proprietario Date A point or period of time associated with an event in the lifecycle of the resource 15th and 16th Sculpture Contributor An entity responsible for making contributions to the resource Unknown Donor Rights Information about rights held in and over the resource Geneseo Foundation Relation A related resource Volumes 1, 2, 3, and 5 Format The file format, physical medium, or dimensions of the resource 20 x 16 Language A language of the resource Italian Type The nature or genre of the resource Print Identifier An unambiguous reference to the resource within a given context Italian Monuments in Rome created during the 15th and 16th Century Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant Prints were made circa 1835 to 1860 https://artgalleries.milne-library.org/files/original/7a5e4d3675663a758cda3a424dac0352.jpg 1d45cde817735aaf3e1f3463d4329e6a Still Image A static visual representation. Examples of still images are: paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type "text" to images of textual materials. Original Format Format of the item being described (e.g., painting, drawing, print, sculpture, tapestry,photograph, etc.) Lithograph Physical Dimensions The actual physical size of the original image or object, in inches and/or centimeters. 22.5 x 28.5 Inches Accession The accession number assigned to the (likely physical) work for which this digital image serves as surrogate. 2018.1.3 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Beasts Description An account of the resource A black and brown lithograph in the "10 Plagues" scene. Creator An entity primarily responsible for making the resource Cohen, Adele Date A point or period of time associated with an event in the lifecycle of the resource 1985 Format The file format, physical medium, or dimensions of the resource Paper, lithograph, 22.5 x 28.5 Inches Language A language of the resource English Type The nature or genre of the resource Still Image Identifier An unambiguous reference to the resource within a given context 2018.1.3 https://artgalleries.milne-library.org/files/original/20cd4a68d90ae418156b80fd265caada.jpg 64d138b0d88405f3b517af7aa612c6aa Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Curlee R. Holton Collection Description An account of the resource The Collection telling the story of 'Othello' in prints. Colophon Othello Re-Imagined in Sepia Images from Original Intaglios by Curlee Raven Holton Text by Ian Smith PhD Portfolio printed on BFK White container bound in Iris book cloth wich spines of Asahi cloth Printed and bound at The Experimental Printmaking Institute Lafayette College, Easton, PA printer: Jase Clark Evan McGovern This is Number: 2012 Creator An entity primarily responsible for making the resource Curlee R. Holton Date A point or period of time associated with an event in the lifecycle of the resource 2012 Language A language of the resource English Contributor An entity responsible for making contributions to the resource Geneseo Foundation and the Milne Library Archives Still Image A static visual representation. Examples of still images are: paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type "text" to images of textual materials. Accession The accession number assigned to the (likely physical) work for which this digital image serves as surrogate. 2013.14.3 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Behold the Moor Subject The topic of the resource A visual representation of 'Othello' Description An account of the resource Sepia print of full length man (sepia). Creator An entity primarily responsible for making the resource Curlee R. Holton Source A related resource from which the described resource is derived Purchased from Curlee R. Holton Publisher An entity responsible for making the resource available Printed and bound at the Experimental Printmaking Institute Lafayette College, Easton, PA Date A point or period of time associated with an event in the lifecycle of the resource 2012 Rights Information about rights held in and over the resource Geneseo Foundation Relation A related resource Holton Collection Accession items: 2013.14.1 through 2013.14.22 Format The file format, physical medium, or dimensions of the resource 17'' x 11.25'' Language A language of the resource English Type The nature or genre of the resource Experimental Prints Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant Late 21st Century Contributor An entity responsible for making contributions to the resource Curlee R. Holton Identifier An unambiguous reference to the resource within a given context 2013.14.3 2012 African American Contemporary Holton Othello Printmaker Prints https://artgalleries.milne-library.org/files/original/3276ed07dbe997f32f0c7ac2055e4700.jpg 5a89a628c926838dec613a8f5f3a9e4b Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Curlee R. Holton Collection Description An account of the resource The Collection telling the story of 'Othello' in prints. Colophon Othello Re-Imagined in Sepia Images from Original Intaglios by Curlee Raven Holton Text by Ian Smith PhD Portfolio printed on BFK White container bound in Iris book cloth wich spines of Asahi cloth Printed and bound at The Experimental Printmaking Institute Lafayette College, Easton, PA printer: Jase Clark Evan McGovern This is Number: 2012 Creator An entity primarily responsible for making the resource Curlee R. Holton Date A point or period of time associated with an event in the lifecycle of the resource 2012 Language A language of the resource English Contributor An entity responsible for making contributions to the resource Geneseo Foundation and the Milne Library Archives Still Image A static visual representation. Examples of still images are: paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type "text" to images of textual materials. Accession The accession number assigned to the (likely physical) work for which this digital image serves as surrogate. 2013.14.2 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Behold the Moor of Venice (The Moor or Universal Man) Subject The topic of the resource A visual representation of 'Othello' Description An account of the resource Title page preceding print of "Behold the Moor." Creator An entity primarily responsible for making the resource Curlee R. Holton Source A related resource from which the described resource is derived Purchased from Curlee R. Holton Publisher An entity responsible for making the resource available Printed and bound at the Experimental Printmaking Institute Lafayette College, Easton, PA Date A point or period of time associated with an event in the lifecycle of the resource 2012 Rights Information about rights held in and over the resource Geneseo Foundation Relation A related resource Holton Collection Accession items: 2013.14.1 through 2013.14.22 Format The file format, physical medium, or dimensions of the resource 4.5'' x 2'' Language A language of the resource English Type The nature or genre of the resource Experimental Prints Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant Late 21st Century Contributor An entity responsible for making contributions to the resource Curlee R. Holton Identifier An unambiguous reference to the resource within a given context 2013.14.2 2012 African American Contemporary Holton Othello Printmaker Prints https://artgalleries.milne-library.org/files/original/9488d0b4760640076247dcfbea362f94.jpg a4cb39283129d037c94aebbde491e8bd Still Image A static visual representation. Examples of still images are: paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type "text" to images of textual materials. Original Format Format of the item being described (e.g., painting, drawing, print, sculpture, tapestry,photograph, etc.) Lithograph Physical Dimensions The actual physical size of the original image or object, in inches and/or centimeters. 22.5x28.5 Inches Accession The accession number assigned to the (likely physical) work for which this digital image serves as surrogate. 2018.1.9 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Blood Description An account of the resource It is a red and pink Lithograph in the "10 Plague" scenes. Creator An entity primarily responsible for making the resource Cohen, Adele Date A point or period of time associated with an event in the lifecycle of the resource 1985 Format The file format, physical medium, or dimensions of the resource Lithograph, 22.5 x 28.5 Inches Language A language of the resource English Type The nature or genre of the resource Still Image Identifier An unambiguous reference to the resource within a given context 2018.1.9